Winona…Craig Armstrong / Scott Fraser – Rosebud

• 3rd Mar 2008

Somewhere between Aloof and Mercury Rev is where we find ourselves as Winonas (Craig Armstrong, Scott Fraser , Cobra Killer, Laurence Ashley and yes, Winona) LP ‘Rosebud’ instrumentally creeps into our ear space before its sublime escalating and fading self ceases, providing us with a great LP intro. Ambience is exchanged for a beat driven track that carries a processed yet dreamy lady vocal and its pleasingly repetitive message through and onto a less memorable third track that opens and closes without incident or diversion from the opening 2 tracks.

Whilst the formula remains unchanged as we continue, there’s an undeniable sense of epic proportion that instils great expectation on a track that alas, doesn’t realise its full potential, choosing instead to exist merely as a well executed, poignant instrumental. And so the mood and precedent is set for the entire LP.

We know its good… bloody good, it just doesn’t try to be clever when it perhaps should, after all, there’s more than enough simplistic instrumental perfection throughout, so why not drop some more of that somewhat otherworldly vocal in for us all to reminisce and to dream away to, within the extra depth defining dimension it so lovingly gives? If nothing else, it’ll enable the listener to concentrate and fully appreciate those surreal, multi layered slices synth laden lounge house sounds without any distracting, hope fuelled search for a vocal.

Its back and halfway through we’re treated to yet another repetitive track that in all honesty could be any of the earlier tracks repeated. We’re going need some diversity here or what could pass for an almighty 1 track mix is going to leave us a little unfulfilled. Varying tempo, emotion, vocal quantity and even tune can’t distract us from the fact that it’s not just a little monotonous, it’s disengaging and damaging to the desired effect that we were promised from the outset.

Now, when the vocals continue, we don’t care what they have to say or whether they continue for that matter…and it’s a crying shame. Such a strong sound that tragically veers neither left nor right, for better or worse leaves us indifferent. We can only pray for something truly mesmeric to occur during the last 4 tracks…

A colder 80s Visage/New Order echoing track picks up the pace and washes any accumulated negativity to the side not away. But that’s good enough for now. This is like dance music for robots as opposed to dance music by robots as intended by Kraftwerk and that entire fantastic crowd of key jockeys. Closing with a nice dose of emotive ooh-ing and ahh-ing, the track leaves us with renewed trust and revitalised interest. Hurrah!!!

Another directionless instrumental follows it, but leaves no damage in its wake, perhaps ‘cause of its dominant technological sounding edge that steers it and guides it into quiet oblivion… perhaps not. Penultimate track ‘Always’ has got timeless classic written all over it from the start and its previously hinted at, wispy French vocal adds to its ethereal vibe wonderfully. This is surely the track that will sell Winona and to serve them well as a signature tune. Like the LP it’s balanced and considerately structured, just without any immediate shortcomings making themselves painfully known. Exquisite…

Here we are on the last track then so, how will we go out? It’s a 9 minute (albeit split into 2) amalgamation of all that’s preceded it. It’s an appropriate close to the LP though and so a summary is in my mind at least called for…

Think a sedated Sarah Blackwood (Dubstar) singing along to Twin Peaks inspired synth driven tracks that vary little and ultimately, satisfy as well as Portisheads self titled LP did when pit against its predecessor ‘Dummy’. It’s a great LP, just missing that certain something. The musicianship is awesome and nothing should be taken away from that aspect, just some better song-writing and courage is what’s needed perhaps?

If you fancy it, you can read my interview with Craig Armstrong by clicking this [link]